Differential sensitivity of stilbenedisulfonates in their reaction with band 3 HT (Pro-868-->Leu).

Band 3 HT (Pro-868-->Leu) is a mutant anion exchange protein which has several phenotypic characteristics, including a 2- to 3-fold larger Vmax, and reduced covalent binding of the anion transport inhibitor 4,4'-diisothiocyanodihydrostilbene-2,2'-disulfonate (H2DIDS). We have used fluorescence kinetic methods to study inhibitor binding to band 3 to determine if the point mutation in band 3 HT produces localized or wide-spread conformational changes within the membrane-bound domain of this transporter. Our results show that covalent binding of H2DIDS by band 3 HT is slower by a factor of 10 to 20 compared with the wild-type protein. In contrast, no such difference in the kinetics was observed for covalent binding of 4,4'-diisothiocyanostilbene-2,2'-disulfonate (DIDS). In addition, the kinetics of H2DIDS release from band 3 HT was abnormal, while the kinetics of 4,4'-dibenzamidostilbene-2,2'-disulfonate (DBDS) release showed no difference when compared with the wild-type protein. We conclude that substitution of leucine for proline at position 868 does not perturb the structure of "lysine A" in the membrane-bound domain of band 3 but rather produces an apparently localized conformational change in the C-terminal subdomain of the protein which alters H2DIDS affinity. When combined with the observation of an increased Vmax, these results suggest that protein structural changes at position 868 influence a turnover step in the transport cycle.

Modernist Ecology: Modernism and the Reimagination of Nature

Countering the trend in contemporary ecocriticism to advance realism as an environmentally responsible mode of representation, this essay argues that the anti-realist aesthetics of literary modernism were implicitly “ecological.” In order to make this argument I distinguish between contemporary and modernist ecological culture (both of which I differentiate in turn from ecological science); while the former is concerned primarily with the practical reform characteristic of what we now call “environmentalism,” the latter demanded an all-encompassing reimagination of the relationship between humanity and nature. “Modernist ecology,” as I call it, attempted to envision this change, which would be ontological or metaphysical rather than simply social, through thematically and formally experimental works of art. Its radical vision, suggestive in some ways of today’s “deep” ecology, repudiated modern accounts of nature as a congeries of inert objects to be manipulated by a sovereign subject, and instead foregrounded the chiasmic intertexture of the subject/object relationship. In aesthetic modernism we encounter not “objective” nature, but “nature-being” – a blank substratum beneath the solid contours of what philosopher Kate Soper calls “lay nature” – the revelation of which shatters historical constructions of nature and alone allows for radical alternatives. This essay looks specifically at modernist ecology as it appears in the works of W. B. Yeats, D. H. Lawrence, and Samuel Beckett, detailing their attempts to envision revolutionary new ecologies, but also their struggles with the limited capacity of esoteric modernist art to effect significant ecological change on a collective level.

Ice rafted debris distribution in sediment core CRP-1

Lonestone abundances in CRP-1 were investigated using three methods: core examination at Cape Roberts Camp, analysis of digital core images and follow-up core examination. For all images of split-core, we determined size and depth of every detectable lonestone larger than 3 mm. Lonestone abundance decreases exponentially with clast size. Although no significant depth-dependent variations in lonestone size distribution were detected, a strong 0.5-0.7 m abundance periodicity, of unknown origin, is evident within diamicts. Lonestone volume percentage was estimated from size distribution: most size classes contribute approximately the same volume to the total. Sizes >16 mm have rare enough lonestones that their counts are nonrepresentative when based on short intervals of split core. This problem does not affect total counts significantly, but the volume analysis needs to be confined to <= 6 mm lonestones to avoid instability induced by rare and nonrepresentative larger lonestones. If lonestone abundance can be used as an indicator of glacial proximity, then our CRP-1 lonestone abundance logs confirm the overall character of previously inferred variations in relative distance to the ice margin. Large-scale changes in lonestone abundance also reflect the CRP-1 sequence stratigraphy, with individual sequences generally characterised by basal lonestone-rich diamict overlain by lonestone-poor sands and muds. The relationship between glacial proximity and lonestone abundance within diamicts and within sand-mud intervals is, however, less certain. For example, two or three gradual lonestone increases may indicate regressions during glacial advances, in contrast to the more common CRP-l pattern of dominantly transgressive sequences.

Operational assessment of Paralympics transit system: low-floor buses, lift-equipped buses, and signage.

Federal Transit Administration, Washington, D.C.

Love poems and others.

"Turnbull and Spears, printers, Edinburgh."

Tradition and change : studies in contemporary literature /

Includes index.

Some imagist poets.

"An annual anthology" (varies)

Human blood groups and inheritance,

Bibliography: p. 98.

Modernist Ecology: Modernism and the Reimagination of Nature

Countering the trend in contemporary ecocriticism to advance realism as an environmentally responsible mode of representation, this essay argues that the anti-realist aesthetics of literary modernism were implicitly “ecological.” In order to make this argument I distinguish between contemporary and modernist ecological culture (both of which I differentiate in turn from ecological science); while the former is concerned primarily with the practical reform characteristic of what we now call “environmentalism,” the latter demanded an all-encompassing reimagination of the relationship between humanity and nature. “Modernist ecology,” as I call it, attempted to envision this change, which would be ontological or metaphysical rather than simply social, through thematically and formally experimental works of art. Its radical vision, suggestive in some ways of today’s “deep” ecology, repudiated modern accounts of nature as a congeries of inert objects to be manipulated by a sovereign subject, and instead foregrounded the chiasmic intertexture of the subject/object relationship. In aesthetic modernism we encounter not “objective” nature, but “nature-being” – a blank substratum beneath the solid contours of what philosopher Kate Soper calls “lay nature” – the revelation of which shatters historical constructions of nature and alone allows for radical alternatives. This essay looks specifically at modernist ecology as it appears in the works of W. B. Yeats, D. H. Lawrence, and Samuel Beckett, detailing their attempts to envision revolutionary new ecologies, but also their struggles with the limited capacity of esoteric modernist art to effect significant ecological change on a collective level.

Writing disenchantment: British First World War Prose, 1914-30.

This book argues that disenchantment is not only a response to wartime experience, but a condition of modernity with a language that finds extreme expression in First World War literature. The objects of disenchantment are often the very same as the enchantments of scientific progress: bureaucracy, homogenisation and capitalism. Older beliefs such as religion, courage and honour are kept in view, and endure longer than often is realised. Social critics, theorists and commentators of the late nineteenth and early twentieth centuries provide a rich and previously unexplored context for wartime and post-war literature. The rise of the disenchanted narrative to its predominance in the War Books Boom of 1928 – 1930 is charted from the turn of the century in texts, archival material, sales and review data. Rarely-studied popular and middlebrow novels are analysed alongside well-known highbrow texts: D. H. Lawrence, Virginia Woolf, H. G. Wells and Rebecca West rub shoulders with forgotten figures such as Gilbert Frankau and Ernest Raymond. These sometimes jarring juxtapositions show the strained relationship between enchantment and disenchantment in the war and the post-war decade.

St. Lawrence Seaway Authority fonds, 1984-1991, n.d.

The St. Lawrence Seaway is a system of locks, canals and channels. Construction of the seaway began in 1954 and it opened on April 25th, 1959. It consists of a 189 mile (306 kilometer) stretch of the seaway between Montreal and Lake Ontario. The Seaway is considered to be an engineering feat with 7 locks in the Montreal – Lake Ontario section which lift vessels to 246 feet (75 meters) above sea level. The 28 mile (44 kilometer) Welland Canal is the fourth version of a link between Lake Ontario and Lake Erie. Today there are 8 Canadian locks which lift ships 326 feet (100 meters) over the Niagara Escarpment. The St. Lawrence Seaway Authority is a Canadian Government Crown Corporation which is financially self-sufficient. It depends on the tolls charged to the users of the Seaway for its revenue and operating expenses.